Somoroff approached each new editorial and commercial assignment as an opportunity to progress visual problem solving. Ben introduced an artist’s sensibility and a craftsman’s precision to the still lifes that he created. They were complex compositions full of depth, plasticity and emphasized the tension between illusion and reality. He transformed and deepened the visual language of commercial work by refining detail and composition. He was not afraid of bold scale or defying gravity while mastering tone in color, being the definitive painter with light and composition. He explored color as a means of personal expression.
Somoroff believed advertising was significant for its reflection of a particular dimension of American life – it’s focus on “The things we live with.” He was celebrated for his ability to transform commonplace objects into memorable formal arrangements while his extraordinary degree of control allowed him to explore spatial relationships.
Ben Somoroff was the first photographer to be commissioned to create an image for the US Postal Service commemorating photography. The stamp was introduced on June 26, 1978.
While conceptually identifying and broadening the Steinway account, Somoroff extended the project to include portraits of the actual pianists and artists associated with the company. Apropos of the typical backdrops of black, grey and white backgrounds of the day, he photographed his famous subjects against colors creating impressionist spaces which successfully convey the demeanor of his subjects and Somoroff’s discourse with them. He collaborated with the legendary creative director Gene Federico on the project which was destined for great critical acclaim.